Las plataformas streaming han tenido un rápido crecimiento a nivel global. Los consumidores ahora tienen a su disposición diversos servicios de streaming donde pueden ver lo que ellos quieren, en cualquier momento y lugar a un precio cómodo. A pesar de que Netflix, Amazon Prime y otras plataformas streamings de video brindan el mismo servicio, estas plataformas difieren en el content richness, las diferentes tarifas y la facilidad de uso. De tal manera, que las empresas tienen la responsabilidad de proporcionar la mejor calidad de servicio para una mayor satisfacción del usuario. Este estudio discutirá los factores de calidad de servicio en relación al grado de satisfacción del usuario en las plataformas streaming. / Streaming platforms have grown fast in the global market. Consumers now have at their disposal various streaming services where they can watch what they want, anytime, anywhere and at a comfortable price. Even though Netflix, Amazon Prime, and other video streaming platforms provide the same service, these platforms differ in content, different prices, and ease of usability. In such a way, companies have the responsibility to provide the best quality of service for greater user satisfaction. This study will discuss the quality of service factors in relation to the level of user satisfaction on the transmission platforms. / Trabajo de investigación

Entertainment media, specifically television, plays a big part in the construction of ideas and thoughts within a society. Television is a form of popular culture which can be used as a source of entertainment but can also promote certain ideologies and values to its audience. Sex Education is a Netflix series released in 2019 with a primary focus on knowledge around sexuality. This study aims to investigate how the Netflix-show Sex Education constructs knowledge around sexuality and how it conveys values and ideologies through this construction of knowledge. The study is different from other studies about the show as it focuses explicitly on the knowledge and conversations around sexuality, not how the knowledge is constructed in sex scenes or through other relations and characterizations in the show. The study specifically interests itself with the conversational and articulated elements of sex education. It is important to study how Sex Education portrays knowledge about sexuality as it reflects values and ideologies within a western society, and can be helpful in exploring the discourse around sex education that prevails within this type of society. This construction will have an effect on the audience which consumes it and will showcase the boundaries which sex education presents and articulates itself within. The discourse within the show sets the grounds for how the topic of sex education is spoken about within their given culture. The study uses a poststructuralist discourse analysis to approach the research and finds similar elements within twelve selected scenes from the show to explore how knowledge about sexuality is constructed in the material. Important factors of the analysis are power, ideology, status and values. These are explored in connection to characters' subject positions and the context in which the factors exist: a fictional exaggerated version of western society. The study finds that the selected scenes create a power struggle between a hegemonic, traditional and progressive discourse around sex education. The suggested discourse in their fictional world is the progressive discourse which includes a positive attitude towards diversity and social aspects of sex education. It also highlights a difference in characters' attitudes depending on their subject positions.

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This thesis examines the on-going anti-piracy and anti-file sharing measures taken by media conglomerates and big content as misguided attempts at addressing changing consumer expectations and social and technological norms. These measures include legislation such as the Stop Online Piracy Act (SOPA), Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act (PIPA), Anti-Counterfeiting Trade Agreement (ACTA), and Cyber Intelligence Sharing and Protection Act (CISPA); and litigation against both extremes of the spectrum: from the world's largest file sharing search engines like The Pirate Bay, and cyberlockers like MegaUpload, to private citizens who illegally downloaded a few movies or a few songs. The manner in which the entertainment industry's largest, most expensive, and highest-profile anti-piracy measures in the recent years have been received by groups from IT corporations to human rights organizations, researchers, politicians, legal and internet experts, and millions of citizens worldwide are of focus; and how this translates into an unpopular public image is explored. Piracy is underlined as a service and distribution problem, and various international studies are presented in exploring the relationship between illegal downloading and legal purchases.

El marketing de nostalgia es una herramienta utilizada para captar la atención del consumidor a través de un sentimiento de añoranza hacia el pasado. Los estudios analizados en el presente trabajo de investigación mencionan que la nostalgia es un sentimiento poderoso que evoca al pasado feliz del consumidor y lo trae al presente, causando un efecto positivo en su actitud. Ha sido utilizada en el branding, desarrollo de producto, estrategias de comunicación y de contenido. Sin embargo, pocos autores describen el uso de esta herramienta en la estrategia de contenido. Es por ello, que este trabajo de investigación analizará las actitudes de los millennials frente al uso del marketing de nostalgia como parte de una estrategia de contenido, específicamente de la alianza de Netflix y Nickelodeon que se basa en un acuerdo de producción de contenido en el que Netflix podrá tener en su plataforma contenido nuevo y antiguo de Nickelodeon. Para ello, se realizará un trabajo de campo cualitativo a través de entrevistas a profundidad dirigido a millennials que usan Netflix y que tengan una conexión previa con Nickelodeon. Esto nos permitirá conocer las principales actitudes, sentimientos y pensamientos con respecto al caso de estudio. / Nostalgia marketing is a tool used to capture the consumer's attention through a feeling of longing for the past. The studies analyzed in this research mention that nostalgia is a powerful feeling that evokes the consumer's happy past and brings it to the present, causing a positive effect on their attitude. It has been used in branding, product development and communication and content strategies. However, few authors describe the use of this tool in a content strategy. This is the reason this research will analyze the attitudes of millennials towards the use of nostalgia marketing as part of a content strategy, specifically the alliance of Netflix and Nickelodeon, that is based on a content production agreement in which Netflix will be able to have new and old Nickelodeon content on its platform. In order, to do this, a qualitative field work will be carried out through in-depth interviews aimed at millennials who have used Netflix and who have a previous connection with Nickelodeon. This will allow us to know the main attitudes, feelings, thoughts regarding the case study. / Trabajo de investigación

La télévision traditionnelle, « voix de la France » est un média de masse. Avec un taux d’équipement des foyers de plus de 98%, un taux d’écoute de plus de 3h50 par jour, un chiffre d’affaires publicitaires de plus de 4 Mrd EUR , et des « contenus rendez-vous » assurant des audiences record, cette télévision trône dans le salon et réunit la famille. Jusque dans les années 1980, elle reste placée sous le contrôle du pouvoir politique.Sous la Présidence de François Mitterrand, la télévision se libéralise. De nouvelles chaînes privées et commerciales financées par l’audience et la publicité apparaissent, tandis que le secteur public reste principalement financé par la redevance audiovisuelle. Dans les années 90, l’arrivée du câble et du satellite, puis de la TNT en 2005, permettent l’accroissement considérable du nombre de nouvelles chaînes et des offres de télévision (abonnements au câble, au satellite, et à Canal + en 1984). Le numérique révolutionne le secteur de la télévision, les technologies et les usages. Le nombre de chaînes continue de s’accroître de façon exponentielle. On voit se développer la production de contenus générés par les consommateurs (UGC), et l’interactivité est favorisée grâce aux réseaux sociaux. L’évolution des équipements changent les habitudes de consommation du petit écran, notamment pour les plus jeunes. L’ordinateur, la tablette, le Smartphone et la télévision connectée permettent de visionner « la télévision comme je veux, où je veux, quand je veux. ». Ainsi la télévision traditionnelle considérée comme un média de masse, tend à s’individualiser, et s’adapte aux goûts et aux envies de chacun. L’écosystème jusqu’à présent hexagonal est littéralement en train d’exploser pour faire face à l’internationalisation des contenus et à des acteurs audiovisuels majoritairement nord-américains. La réglementation devenue obsolète peine à trouver un nouveau cadre juridique à l’échelle française et européenne. Face à l’offre mondialisée, et les nouveaux usages de consommation notamment les usages délinéarisés (télévision de rattrapage, et Vidéo à la demande), la télévision continue néanmoins à fédérer le public autour de grands évènements d’actualité (évènements sportifs, politiques, journal télévisé du 20h…). Les profondes mutations et les changements rapides qui s’opèrent actuellement laissent planer une grande incertitude sur l’avenir de la télévision traditionnelle et faute de pouvoir s’adapter, celle-ci pourrait à plus ou moins long terme disparaitre… / Traditional TV, "Voice of France" is a mass medium. With a home ownership rate of over 98%, a viewing rate of l more than 3.50 hours, advertising revenue of over 4 billion euros , and “contenus Rendez-vous” bringing in record audiences, television rules over the living room, bringing the family together up into the 1980s. It is, however, controlled by the ruling political powers.Under the presidency of François Mitterrand, television was liberalized with the appearance of new private and commercial channels, financed by audiences and advertising, while the public sector continued to be funded by a license fee. In the 90s, the arrival of cable and satellite, followed by TNT in 2005, allowed the amazing increase of a number of new channels and TV services (« subscriptions to cable, satellite and finally Canal + in 1984 )But this evolution continues with the arrival of digital TV, revolutionizing the industry. It increases the number of channels exponentially, expands the production of content generated by consumers, and promotes interactivity through social networks. Technological advances are changing consumer habits with regard to the small screen, especially for young people. The computer, tablet, smartphone and the connected TV let you watch "television as I want, where I want, when I want”. Traditional TV, once considered as a mass media, is now a media that is individualized and that adapts to the tastes and desires of each viewer.The current financial system in France is literally exploding to deal with the internationalization of audiovisual content and players, with most of the content produced in North America.. Obsolete regulations can no longer keep pace with consumer demand in Europe and France. Faced with global supply and new viewing habits (delinearised viewing: replayand video on demand), television still continues to unite the public around major news events (sporting events, political events, the evening news …). The important, rapid changes now occurring in TV content and distribution lead to considerable uncertainty with regard to the future of traditional television, and unless it can adapt, it could more or less disappear in the long term.

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